— 8 In the first 12-bar section, the right hand is playing 3rds from the G and C Mixolydian modes (in measures, 1-8 and 11-12), as well as some chromatically ascending and descending intervals (3rds and 6ths). In measures 9-10, drone-note phrases and fills are used from the G blues scale, and also from the E blues scale during beat 4 of measure 10 (E being the relative minor of G). Meanwhile, the left hand is playing root-7th intervals on all of the dominant chords, with the root-3rd—7th variation on the D7 chord in measure 9, In the second 12-bar section, the right hand is playing more drone note phrases from the G blues scale, starting with the tonic of the scale (G) as the drone in measures 13-14, 17, 19 and 23, and using the 7th of the scale (F) as the drone in measures 15 and 18. Descending triads from the G Mixolydian mode are also used in measures 16 and 19-20, with the Em and Dm triads “linked” with the chromatic passing triad of Ebm (this is also a favorite device in gospel styles). On the ending phrase in measure 24, double 4th shapes are built from the 3rd of the Ab7 and G7 chords (upgrading these chords to dominant 13ths). Meanwhile, the left hand is playing 7-3 extended voicings on all of the dominant chords except for the root-Tth inter- vals in measure 24, Note that the busier and more melodic nature of this example (particularly the second chorus) would make it suitable for a melody and/or solo treatment. As previously discussed, there is often no clear division between comping styles and melody/solo styles when playing blues or jazz-blues,